A word diff answers an important question: exactly what did this rewrite change?
It does not answer the harder one: did the rewrite keep true what the screenplay needed to keep true?
Both questions matter, and they are not the same review. Inkwell puts every AI change in front of you before it lands — an inline edit shows the exact word-level difference between alternatives, and a skill proposes each change for you to accept or reject on its own. That is the last mile of a good review.
1. The rewrite spends a reveal early
Maya says You said you never met him. Asked to make the line more specific, a model returns You said you never met him at the Ardmore.
The rewrite is sharper, and it tells the audience that Maya has known about the Ardmore all along. The script was holding that for scene 41, where her knowing it is the reveal. Scene 41 still plays, to an audience that worked it out twenty pages ago.
Review: write down every fact the rewrite newly puts on the page. For each one, check who is allowed to know it yet — the character saying it, the character hearing it, and the audience. A rewrite can get any one of those three wrong while the other two stay fine.
2. The character becomes generically competent
Models improve clarity by making characters say what they mean. That is sometimes exactly wrong.
A character who evades, performs, lies, rambles, or talks around shame can be rewritten into someone more articulate and less themselves. The diff shows better sentences. The screenplay loses a voice and a behavior. It is why a dialogue pass reads a character's dialogue and actions across the whole draft even when you run it on a single scene: voice is a pattern, and a pattern is not visible in one exchange.
Review: compare the rewritten line against how that character handles pressure elsewhere, not against an abstract standard of good prose. Subtext is the usual casualty.
3. A setup disappears because the line looked redundant
A second mention of a broken elevator looks expendable in scene 18. If scene 64 needs the audience to already know the elevator is unreliable, that repetition was reinforcement, not redundancy.
Review: before accepting the deletion of a concrete detail, search later scenes for the payoff that depends on it. The scene you are reading will not tell you; scene 64 will, once it stops working.
4. The rewrite solves the scene's friction
A scene can work precisely because two people fail to understand each other. Asked to make this clearer, a model may remove the misunderstanding that generates the next ten pages.
Review: write the scene's dramatic job in one sentence before you read the rewrite. If the job changed, you are looking at a structural revision, whatever scope you asked for.
5. Production state changes invisibly
Changing she pockets the knife to she leaves the knife on the counter is a tiny textual change and a large continuity change if the knife appears later.
DAY to NIGHT moves schedule assumptions. A new speaking character moves cast. A split location moves the breakdown.
Review: treat changes to props, cast, locations, time of day, scene headings, entrances and exits, wardrobe, injuries, and vehicles as a separate class from prose changes — and run a continuity check on the finished draft, which reads exactly that mechanical half and cites the line each contradiction breaks.
Review in this order
Accept or reject every change is only powerful when the unit you are reviewing is meaningful, and four of those five questions are about state the diff cannot show you. A continuity ledger is the cheapest way to make that state explicit before you need it.
Inkwell's AI modes keep every proposed change reviewable and reversible — nothing lands until you accept it, and a draft line lets you try the rewrite without committing the draft to it. What the tool cannot do is decide whether the proposed version is the right story. That part stays yours.